<%an 


THE 


KHETOKIC  OF  MUSIC 


HARMONY,  COUNTERPOINT, 
MUSICAL   FORM 


BY 

MOETIMER  WILSON" 

DIRECTOR,  DEPARTMENT  OF  COMPOSITION  IN 

THE   UNIVERSITY  SCHOOL  OF  MUSIC 

UNIVERSITY  OF  NEBRASKA 


THE   UNIVERSITY  PUBLISHING   COMPANY 

LINCOLN,   NEBRASKA 

1907 


NIV.  OF  CALIF,  LIBRARY.  LOS  AHGELL 


COPTBIQHT,  1907, 
BY 

THE  UNIVERSITY  PUBLISHING  COMPANT 


ALL  RIGHT  a  RESERTBD 


Stanbope  press 

F.       H.       OILSON       COMPAHT 

BOSTON,      u,  e.  *. 


Library 


1 
^01 


PREFACE 


This  volume  is  intended  as  a  reference  book  for  the  use  of 
students  in  the  author's  own  classes  in  the  University  School  of 
Music,  University  of  Nebraska.  It  is  desired  to  place  the  subjects 
in  the  hands  of  the  student  in  a  more  convenient  form  than  that 
made  necessary  by  the  wide  variance  in  the  treatment  of  the  same 
facts  by  different  authors.  We  hope  it  will  prove  helpful  to  those 
who  come  under  its  influence. 


Mortimer   Wilson. 


University   of  Nebraska, 
Lincoln,  Jan.  5,  1907 


INDEX  OF  SUBJECTS 


PART   ONE 
CHAPTER  I 

PAGE 

Intervals — 1 

A  Table  of 1 

Inversion  of 2 

Consonant  and  Dissonant 3 

Teiads  — ^ 

Nomenclature 4 

Doublings 4 

Position 4 

Motion 5 

Voice-Ranges  and  Registers  — 5 

Unsingable  Intervals 6 

Unmelodic  Intervals 6 


CHAPTER  II 

Chord-Progression  — 6 

Cadences 7 

Contrasts 8 

Development  of  Harmonic  Outlines 9 

Rules  for  the  Progression  of  Bass  Voice  in  Root  Position 9 

The  Harmonization  of  Basses 10 

Faulty  Voice-Leadings 10 

The  Leading-Tone 12 

Melodic  Outlines 14 

The  Song-Period , 15 

Inversion  of  Triads  — „ 17 

The  Six-Three  Chord  17 

The  Six-Four  Chord 18 

V 


Vi  INDEX  OF  SUBJECTS 

CHAPTER  III  PAGB 

Setenth  Chords  — 20 

Classification  of c 20 

Consonant  Seventh  Chords 20 

Dissonant  Seventh  Chords = 22 

Alterations  of 24 

CHAPTER  IV 

Modulation  —    26 

To  Relative  Minor    26 

To  One  Degree  Removed   27 

To  Two  Degrees  Removed 29 

To  Three  Degrees  Removed 29 

To  Pour  Degrees  Removed 30 

To  Five  Degrees  Removed 30 

To  Six  Degrees  Removed 31 

The  Relation  between  Tonalities  from  One  to  Six  Degrees  Removed  ...  32 


PAKT   TWO 

CHAPTER  V 

Non-Harmonic  Incidents  —     33 

Suspensions 33 

Retardations 35 

Anticipations 35 

Organ-points 35 

Changing-Tones 36 

Passing-Tones 37 

CHAPTER  VI 

Melodic  Voices  — 39 

Two  Voices  — 

In  Equal  Rhythmic  Divisions 39 

In  Unequal  Rhythmic  Divisions 40 

Two  Notes  against  One 40 

Four  Notes  against  One 41 

Three  Voices 41 

Four  Voices 43 


INDEX   OF  SUBJECTS  ^" 

PART   THREE 

CHAPTER  VII 

Development  of  Design  —  page 

Means  of •> ^" 

Theme  and  Countertheme ■  - ^^ 

Rhythmic  Accompaniment •  •  •  •  ^"^ 

Inversion  of  Themes » ^"^ 

By  Repetition  ^8 

Musical  Form  — 

The  Sonata *9 

The  Song 49 

The  Dance ** 

The  Rondo 51 


THE  RHETORIC  OF  MUSIC 

PART  I 


CHAPTER   I 


INTERVALS 


An  interval  is  the  distance  between  two  tones  —  usually  reck- 
oned upwards  —  and  named  according  to  the  number  of  staff-degrees 
embraced  by  both  incidents. 

Natural  incidents  are  those  tones  belonging  to  the  major  and 
harmonic-minor  scales.  Altered  incidents  are  chromatic  elevations 
or  depressions  of  natural  incidents.  Harmonic  incidents  are  those 
belonging  to  any  certain  chord-combination. 

Two  tones  of  the  same  pitch  occupying  the  same  staff-degree  are 
in  unison,  or  prime  to  each  other.  Tones  on  adjoining  degrees  are 
seconds,  those  embracing  three  degrees  are  thirds,  etc.  Intervals  in 
excess  of  the  octave  are  spoken  of  as  if  the  octave  did  not  exist ; 
that  is  : — ninths  become  seconds,  tenths  become  thirds,  etc. 


A  Table  of  Intervals 


Primes.  Seconds. 

Perfect.        Augmented.       Great.  Small.        Augmented.    Diminished.O) 


'fcsH^sr— ' 


-f9-     -«>-  -&-  S-S>-  -&- 


f 


"Z?- 


-&- 


i?^ 


-&- 


'^"^'p^ 


Thirds.  Fourths. 

Augmented  (2) 
Great.  Small.        Diminished.         Small.         ( or  great ).      Diminished. 


i 


-s>- 


-Gh- 


-<$>- 


PS*- 


f 


-es- 


i&- 


-(9- 


-&- 


:'::s: 


f 


-zr 


iSh- 


>  The  diminished-second  is  practically  a  unison  enharmonically  represented;  though 
a  difference  in  pitch  occurs  when  the  two  tones  are  heard  in  their  respective  tonalities. 

"-■  An  augmented-fourth  is  an  artificially  altered  interval :  a  great-fourth  occurs 
naturally  in  the  tonality. 


THE  RHETORIC   OF  MUSIC 


Fifths.  Sixths. 

Diminished  (') 
Great.        (or  small.)     Augmented.       Great. 


Small.         Augmented. 


i 


-i5>- 


:^ 


-(5>-  -IS>- 

Sevenths. 


-&- 


■::;«- 


-tS- 


-i?g?~ 


^t^ 


-(S*- 


-1©'- 


-<£?- 


Great. 


Octaves. 
Small.        Diminished.       Perfect.     Augmented.(2)  Diminished.^) 


-s>- 


Inversiox  of  Intervals 

The  transposition  of  an  incident  into  the  octave  inverts  the 
interval;  that  is: — primes  become  octaves,  seconds  become  sev- 
enths, etc.  Intervals  inverted  reverse  in  size:  — great  become 
small,  augmented  become  diminished,  and  vice  versa. 

Inversion  into  the  Octave 

-  2  -  3  -- 


^<S>-]f^r^t 


^^^^^^5=^^5Sr-:^=5^r-:^|f^|^?j^^-^^^ 


'G- 


9i 


~g:r- 


:»^ 


ft$t 


w 


^^ 


J2g;j     H?^ 


>  A  diminished-fifth  is  an  artificially  altered  interval:  a  small-fifth  occurs  naturally 

in  the  tonality.  .   ,       ,  ■ ,       ;. 

«  An  auemented-octave  IS  possible  when  considered  as  prime. 

'  The  diminished-octave  occurs  only  as  a  suspension  over  the  seventh  of  a  aimin- 

'^  ^NoT^K."  Augmeiited-thirds.  augmented-seventlis,  and  diminished-sixths  may  not  be 
grammatically  represented  in  any  one  tonality;  l)ut  occur  at  times  during  enharmonic 
transitions. 


TUE   RHETORIC    OF  MUSIC 


±^=^0^==^^-^ 


?G>- 


T^ 


fe=3 


e>        —7p 


9 


^b> 


«>: 


-i5>-\  -iS)^  -&^  f^-'l         \^  -<5>^         |^=]         ^' 

I2J fcsj t^j— ^. 


z^^zrzN 


-<5y 


1 


Consonant  and  Dissonant  Intervals 

Consonance,  in  some  degree,  exists  between  all  incidents  except 
two:  —  small-second,  great-seventh  (  augmented-prime,  diminished- 
octave).  Pure  consonants  are  those  agreeing  most  perfectly:  — 
perfect-prime,  and  inversion,  perfect  octave.  Open  consonants  con- 
tain too  little  of  the  harmonic  element  to  stand  well  alone  :  —  great- 
fifth,  and  inversion,  small-fourth.  Partial  consonants,  when  alone 
are  dissonant;  but  when  in  certain  other  combinations  become  con- 
sonant:—  great-second,  augmen ted-second,  diminished-third,  dim- 
inished fourth,  and  inversions,  small-seventh,  diminished-seventh, 
angmented-sixth,  augmented-fifth.  Harmonic  consonants  contain 
the  amounts  of  consonance  and  dissonance  requisite  to  a  satis- 
factory blending  :  —  great-third,  small-third,  augmented-fourth ; 
inversion,  small-sixth,  great-sixth,  small-fifth. 


Pure  Open 

Consonants.     Consonants.         Partial  Consonants. 


JZ- 


-G>--&-    -^-    «-^     -&- 


zy 


JZ- 


^p^^^^ 


9<s>- 


^^ 


Harmonic  Consonants. 


Dissonants. 


tS- 


-<s>-'. 


fr^-f^ 


Triads 

A  triad  is  the  foundation  upon  which  a  musical  design  rests  :  it 
consists  of  a  root,  or  fundamental-tone,  with  its  third  and  fifth. 
Major  triad  ==     root,  great  third,  great-fifth. 

Minor     "  ==       "      small     "  "        '' 

Augmented  triad   =       "      great     "       augmented  fifth. 
Diminished   "         =       '•      small    "       small  " 


THE  RHETORIC   OF  MUSIC 


(-) 


Major  Mode,  (i) 


II 


III 


=g= 


-!§- 


"Sr 


-tS^ 


sr 


^i 


— iS ^o_ 


-£2- 


YVC 


VI 


-(©- 


:^ 


-6^- 


IV 


i 


9^ 


I 


MiNOE  Mode. 


11^ 


Hi 


-^7 


1^ 


-gr  ^ 


-S- TTS* 


-O^ 


-(S- 


VII^ 


VI 


--%-- 


-&- 


IV 


Nomenclature 
Major  Mode.  Minor  Mode. 


I 

—  Major 

Tonic 

■  Minor 

-  I 

II 

—  Minor 

—  Supertonic       — 

Diminished  — 

-  11° 

III 

u 

—  Mediant           — 

Augmented  — 

Hi 

IV 

—  Major 

—  Subdominant  — 

Minor            — 

IV 

V 

u 

—  Dominant        — 

Major            — 

V 

yi 

—  Minor 

—  Submediant     — 

u 

VI 

VII° 

—  Diminished 

—  Subtonic          — 
Doublings 

Diminished  — 

VI 1° 

Tria 

ds  admit  of  the 

following  doublings :  — 

Best. 

Next  Best. 

More  Rarely. 

Major            root                fifth 

third  W 

Minor 

((                         a 

a         (*) 

Augmented 

"                  third 

fifth    (^) 

Diminished-third               fifth 

root    (') 

Position 

A  triad  is  in  root-position  when  the  root  is  in  the  bass ;  in  close- 
position  when  the  three  upper  voices  are  compactly  arranged;  in 
open-position  when  any  two  of  the  three  upper  voices  are  separ- 
ated ;  in  inverted-position  when  the  bass  is  given  some  tone  other 
than  the  root  of  the  triad. 


1  Mode  is  tlie  character  or  color  of  tonality.  Tonality  is  the  perceived  relation 
between  tones,  triads,  and  modes. 

-  Roman  numerals  denote  the  scale-position  and  character  of  triads. 

'  (ireat-thirds  may  be  donbled  if  both  voices  pass  through  degreewise  in  contrary 
motion.    Also  to  prepare  dissonances,  and  to  avoid  faulty  voice-leadings. 

*  Small-thirds  are  not  so  characteristic  as  great-thirds,  and  they  may  be  doubled 
more  often. 

''  Augmented-flfths  are  leading-tones  and  may  be  doubled  only  for  melodic-rein- 
forcement. 

'■'  The  root  of  the  diminished-triad  on  the  seventh  scale-degree  is  a  leading-tone  ;  it 
may  be  doubled  only  in  sequence.  The  diminished-triad  on  tiie  supertonic  of  the  minor 
mode  admits,  more  freely,  a  doubling  of  its  fundamental-tone. 


(1)  Boot-position. 


THE  RHETORIC   OF  MUSIC 


Close-position. 


9t 


-^2- 


t^—M: 


-is- 


^fr 


S 


jg 


-<2- 


S 
3 


C)  Inverted-position. 


-(S2_ 


-tS"- 


i& 


ig 


~cEr 


-T&- 


-(5'- 


etc. 


I 6 — I — 6 — ■ 6—'         ^' 4 — ■ — 4 — ' 4 — ■ 


-6— » — 6— ■ 6 

-  3  3 


i 


9 


-ffi_ 


^ 


a 


-&- 


a 


—6>- 
-&- 

etc. 


Motion 


9t 


Open-position. 


«j     ■ —      -&- 


■zy 


-ffi- 


-iC2- 


^ 


(S)  Accidentals. 


O- 


m 


Ht     Vt  etc. 


-(2_ 


-iS'- 


5{ 


0 
6 


The  combined  leadings  of  two  or  more  voices  produce  four  kinds 
of  motion :  —  similar,  parallel,  contrary,  and  oblique.  A  repetition  is 
not  considered  motion. 


Similar. 


Parallel. 


Contrary. 


Oblique. 


i 


<g 


-6>- 


_(S- 


-O- 


jS2_ 


-G^ 


-&- 


jffi- 


-O- 


-^- 


-O- 


sr 


Voice-Ranges  and  Registers 

As  a  means  of  expression  the  four-voiced  choir  is  used.  The 
ranges  given  are  the  most  practical  for  chorus  —  individual  voices 
may  exceed  these  limits  :  — 


Soprano. 


Alto. 


-G>- 


-&- 


•&- 


J 


1  Arabic  numerals  denote  the  distance  above  the  bass-note  at  which  the  remaining 

8 
tones  of  the  triad  may  be  found.    3,  5,  or  8  abbreviates  5  denoting  respectively  the  third, 

3 
fifth,  and  octave  of  the  bass-note.    When  these  figures  stand  alone  they  denote  the  inci- 
dent of  the  triad  to  be  used  in  the  upper  voice,  or  merely  root-position  of  the  bass-note. 
*  ^  signifies  that  the  third  of  the  triad  is  assigned  to  the  bass;  ^  — the  fifth. 

s  An  accidental  standing  below  a  bass-note  applies  to  the  third  above  the  bass-note; 
following  a  figure,  it  applies  to  the  tone  represented  by  the  figure.  A  dash  through  a 
figure  denotes  the  elevation  of  the  tone  to  which  the  figure  applies. 


Tenor. 


-52. 


THE  RHETORIC   OF  MUSIC 
{8va  lower.) 


Bass. 


-i9- 


JZ. 


=9t 


/S 


or  : 


^ 


L_ 


Unsingable  Intervals 

Intervals  which  are  not  readily  conceived  and  easily  vocalized 
are  considered  faulty  as  voice-leadings.  These  are :  —  all  aug- 
mented intervals,  except  the  augmented-prime ;  great  and  small 
sevenths  ;  and  the  diminished-fourth  unless  taken  from  the  higher 
to  the  lower  tone.  Moreover  these  intervals  are  unmelodic,  and 
should  not  be  outlined  within  three  progressions. 


Unslngable  Leadings,  (i) 


e) 


(') 


etc. 


I I  I I  ^    I !  "     I I  I _) 


9(5>- 


-&- 


-&- 


-G>- 

L 


Uumelodic  Intervals  Outlined. 


^ 


g 


-£2- 


a 


sr 


_£2_ 


etc. 


-z?- 


More  Satisfactory. 


-0- 


-O- 


W'^ 


9' 


-O- 


a 


etc. 


CHAPTER   II 

CHORD-PROGRESSION 

Harmonic  and  melodic  outlines  are  developed  by  the  use  of  ca- 
dences, contrasts,  and  repetitions;  the  most  interesting  of  these 
progressions  are  the  cadences.     Contrasts  serve  to  avoid  a  monotony 


1  As  the  harmonic  and  melodic-feeling,  or  conception,  is  dependent  upon  a  subcon- 
scious vocalization,  it  is  well  during  the  acquirement  of  a  thinkiag-technic  to  make  use 
of  only  the  singable  intervals.  The  dramatic  character  of  unsingable  intervals  re'idera 
them  useful,  later,  for  expressive  purposes ;  but  an  early  use  of  tnem  retards  a  well-bal- 
anced progress  in  the  ahsorbtion  of  tiie  material. 

=  Practicable  if  the  harmouic  foundation  remain  unchanged. 

»  Practicable  If  either  of  the  two  incidents  be  used  uon-harmonicallj. 


THE   RHETORIC   OF  MUSIC  J 

resulting  from  a  too  frequent  appearance  of  cadences.     Repetitions 
are  advisable  only  when  diiferent  positions  of  the  triad  are  used. 

The  principal  harmonies  of  a  tonality  are  the  tonic,  subdominant, 
and  dominant.     Ail  others  are  contrasts  or  substitutes. 


Cadences 


With  Substitutes 


-&- 


-Si- 


JS- 


-tS>- 


u     V 


-19- 


SL 


-iSr 


-49- 


-i§- 


-<g- 


-(9- 


H 


-&-  -G>- 
I        VI 

-Sh- 


V 


-iS- 


sr 


-gr 


-&- 


jS- 


Authentic. 


i 


9 


"Z?" 


-27" 


-&- 


I    IV  vii°  I 


etc. 


^t 


ji2_ 


-i9- 


jSL. 


-es- 


or:  — 


vii°    I 


-/9- 


vir 


7b 


Modulatory  Authentic— 


i 


^t 


i6  I  g^ 


-gr- 


I     IV    or:  — 


-iS'- 


JS- 


Plagal. 


or:  — ' 


(U) 


9^ 


IV 

-19- 


-19- 
I 


-£2.- 


or:  — 


<^^y^ 


^ 


JS- 


Z^^SIL 


1      g 


II., 


i 


^ — ^2- 


3= 


_ffl_ 


etc. 


8 


THE  RHETORIC   OF  MUSIC 


Deceptive. 


I 


9^ 


-&- 


-G>- 


-&- 


-jfi- 


"Z?- 


-&- 


VI 


or:  — 


i 


w 


9^ 


-iS>- 


~zr 


-(9- 


is: 


-2?- 


II 


-i6?- 


etc. 


Half. 


i 


=g= 


-15'- 


-i9- 


=g: 


or: 


i 


9^ 


-1©'- 


II 


(5'- 


^--- 


-or 

V 


-£2- 


The  complete  cadence  consists  of  the  subdominant,  dominant,  and 
tonic.  The  supertonic  or  submediant  may  be  substituted,  for  the 
subdominant.  The  subtonic  may  be  substituted,  in  few  cases,  for 
the  dominant. 

The  authentic  cadence  is  a  progression  from  the  dominant  to  the 
tonic.  The  subtonic  at  times  acts  as  a  substitute  for  the  domi- 
nant. 

The  modulatory-authentic  cadence  is  a  progression  from  the  tonic 
to  the  subdominant.     The  mediant  may  be  substituted  for  the  tonic. 

The  plagal  cadence  is  a  progression  from  the  subdominant  to  the 
tonic.  The  subdominant  may  be  altered  to  a  minor  triad  without 
destroying  the  major  character  of  the  tonality.  The  supertonic, 
under  some  conditions,  may  serve  in  place  of  the  subdominant. 

The  deceptive  cadence  is  a  progression  from  the  dominant  to  any 
harmony  other  than  the  anticipated  tonic. 

The  half  cadence  is  a  progression  to  the  dominant  from  any 
other  harmony. 

Contrasts 


The  most  natural  contrast  for  any  harmony  is  that  one  which 
lies  three  degrees  below  it,  though  others  may  serve.  But  few  con- 
trasting-harmonies  may  appear  in  succession  without  destroying  the 
harmonic  interest  dependent  upon  cadences.  That  harmony  which 
lies  three  degrees  above  another  one  is  rarely  satisfactory  either  as 
a  cadence  or  contrast. 


THE  RHETOBIC    OF  MUSIC 


Effective  contrasts. 


i 


¥ 


9t 


^i 


-<5>- 


I 
-&- 


-G>- 


-O- 


II 


-tSL- 


VI 


-fZ 


-(Z- 


VI 
-G>- 


Barely  desirable. 

n 

u 

^      1 

/\     /^-^ 

n        1 

irh    <^ 

^        1 

\^\)    <i 

=>        1 

IV           III 

•-1.    ^ 

<^ 

y 

=g= 


II 


-<s- 


_iS2_ 


-ig^ 


-.&- 


-iS2_ 


etc. 


Development  of  Harmonic  Outlines 

The  complete  cadence  is  tlie  foundation  of  all  phrases,  periods, 
and  forms.  The  authentic  and  plagal  cadences,  only,  are  suitable 
for  closing-cadences,  the  authentic  is  preferable.  In  the  develop- 
ment of  a  harmonic-outline  the  cadences  and  constrast  may  be 
employed  with  the  utmost  freedom;  though  cadences  should  pre- 
dominate :  musicianship  and  good  taste  can  be  the  only  guides ;  but 
the  following  suggestions  may  prove  beneficial  in  the  placing  of  the 
material  in  the  hands  of  the  student. 

EULES    FOR    THE    PROGRESSION    OF    THE    BaSS 
IN    ROOT-POSITION 

Every  composition  will  begin  and  end  with  the  tonic  triad  in 
root-position. 

The  last  measure,  but  one,  will  be  the  dominant   or  subdomi- 
nant  —  preferably  dominant. 
The  Bass  may  :  — 

Rise  or  fall  a  fifth  or  a  fourth ; 

u     II     u    u  second ; 
Fall  a  third,  or  rise  a  sixth. 


10 


THE   RHETORIC   OF  MUSIC 


The  Bass  may  not :  — 

Rise  a  third,  or  fall  a  sixth ; 
Rise  or  fall  a  seventh. 


Exceptions 

The  subtonic  may  not  appear  in  root-position  except  in  sequence. 
The  bass  may  rise  a  third  or  fall  a  sixth  from  tonic  to  mediant  pro- 
vided the  mediant  be  followed  immediately  by  the  subdominant :  in 
this  case  the  mediant  is  similar  to  six- five-three  position  of  the  tonic 
(see  inversions  of  seventh  chords  ). 

The  Harmonization  of  Basses 

Triads  are  related,  most  closely,  when  they  possess  a  common- 
tone  ;  the  common-tone  should  be  retained  in  the  same  voice  except 
from  the  supertonic  to  the  dominant  if  the  bass  rise  (see  covered- 
octaves  and  fifths):  the  remaining  voices  progress  to  the  nearest 
required  tone  in  the  new  triad. 

Triads  on  adjoining  scale-degrees  contain  no  common-tones :  con- 
trary-motion to  the  bass  is  employed,  in  general  to  avoid  parallel 
octaves,  fifths  and  unisons  (see  faulty  voice-leadings  ). 


-iS- 


-Gt- 


-iS^ 


9^ 


V     VI 


-<s- 


j2_ 


III    IV     1     etc. 


-Ol 


-&- 


jS- 


Faulty  Voice-Leadings 

A  parallel-unison  is  produced  by  two  voices  moving  from  an  in- 
terval of  a  unison  into  a  unison. 

A  parallel-fifth  is  produced  by  two  voices  moving  in  similar  or 
contrary  direction  from  an  interval  of  a  fifth  into  a  fifth. 

A  parallel-octave  is  produced  by  two  voices  moving  in  the  same 
or  contrary  direction  from  an  interval  of  an  octave  into  an  octave. 


i 


Parallel-unison. 


Parallel-fifth. 


-z?g    I 


-&&- 


sr 


-&- 


-s?- 


-<!9- 


Parallel-octave. 


•'•••^ 


-13- 


-O- 


-O- 


H&- 


^-Sh 


■i5>- 


-TS' 


\     '''■     ^ 


-<s>- 


sr 


TRE  RHETORIC    OF  MUSIC 


11 


Parallel-unisons  and  octaves  are  faulty  because  they  limit  the 
number  of  different  voice-leadings  otherwise  accessible.  Parallel- 
fifths  present  two  triads  in  an  equally  forceful  position  and  interfere 
with  the  desired  smoothness  of  progression. 


Parallel-unison  and  fifth. 


-<Si- 


-f5>- 


~ar 


Parallel-octave  and  fifth. 


II 


sr 


II 


Avoided. 


i 


^ 


I 


-7p- 

-&- 
II 


"fy- 


-<&- 


-Z3- 


~Z7~ 


-6>- 


"sr 


-73- 


't:?- 


II 


A  covered-unison  is  produced  by  two  voices  moving  in  the  same 
direction  from  an  interval  other  than  a  unison  into  a  unison. 

A  covered-fifth  is  produced  by  two  voices  moving  in  the  same  di- 
rection from  an  interval  other  than  a  fifth  into  a  fifth. 

A  covered-octave  is  produced  by  two  voices  moving  in  the  same 
direction  from  an  interval  other  than  an  octave  into  an  octave. 


Covered-unison. 


Covered-fifth. 


Covered-octave. 


Covered-unisons  are  faulty  because  of  the  crossing  of  voices. 

There  are  but  three  faulty  covered-fifths:  from  tonic  to  super- 
tonic,  supertonic  to  mediant,  and  dominant  to  subdominant :  all 
others  may  be  freely  used. 

There  is  but  one  faulty  covered-octave :  from  supertonic  to  dom- 
inant.    Others  may  be  used  unhesitatingly. 


12 


THE  RHETORIC   OF  MUSIC 


Faulty  covered-fifths. 


-7S- 


II 


-G>- 


-fS''- 


_&MZg: 


ig-b-g: 


II     III 


-&- 


-iS2_ 


Faulty  covered- 
octave. 


II 


-d- 


Avoided. 


^t 


-(&- 
-.5^ 


-^r- 


"s: 


-ir?sr 


II 


-«>- 


i 


9^ 


G>- 


-G.- 


-O- 


II 


-(5^ 


III 


"75- 


-fi^ 


_d2_ 


-i2- 


IV 


-s>- 


^i 


-<s>- 


-G>- 


-£2- 


II 


-(5^ 


-tS*- 


-(g- 


-i&- 


-O- 


or 


-iSi- 


-i^r 


II 


-&- 


JS- 


-G>- 


-&- 


The  Leading-Tone 

The  tone  on  the  seventh  scale-degree  has  a  very  strong  tendency 
to  move  upward  one  degree  into  the  root  of  the  tonic.  When  in 
an  outer  voice,  this  leading  usually  takes  place.  In  the  major  mode, 
a  few  irregular  resolutions  are  possible  :  in  the  minor  mode,  the  reg- 
ular resolution  of  the  leading-tone  is  almost  always  obligatory. 


Regular,  or  Natural  Resolutions 


^t 


V     I 


-O.- 


~z?~ 


-G>- 


V 


-P- 


etc. 


i^??- 


UBRARV 


THE  RHETORIC  OF  MUSIC 


13 


Irregular  Resolution. 


-t5>- 


sr 
V 


^^-zr- 


SS 


11       VI 


-Tg^^^ 


rzr 


-(5'- 


-i5^ 


V 


■T^ 


I     etc. 


-"zr 


"^^T" 


6 
4 


5 
3 


The  leading-tone  in  the  minor  mode  may  receive  but  few  irreg- 
ular resolutions  :  its  progression  to  or  from   the  second  below  it  is 
faulty  owing  to  the  tuisingable  interval,  —  augmented  second. 
Faulty. 


"757" 


-i5>- 

VI 


^i 


-&- 


i 


f^^ 


9^ 


II 


sr 


f] 

y               i                 1 

/L       '■          1                   ' 

f(T\ 

>*<3 

-  Ill'  _ 

1 

IM; 

"ff^ 

rj          \ 

J 

at 

IV 

Q-              '                ' 

T. 

^           1 

^          <^             '^            1 

1 

From  dominant  to  submediant,  or  vice  versa,  the  leading-tone  re- 
ceives its  natural  resolution.  The  remaining  voices  move  contrary 
to  the  bass. 

From  supertonic  to  dominant,  the  augmented-second  is  avoided 
by  moving  the  fifth  of  the  supertonic  downward  whether  the  bass 
rise  or  fall. 

From  mediant  to  subdominant,  either  the  augmented-second  or 
a  parallel-fifth  occurs  unless  one  of  the  triads  be  inverted. 
Avoided. 


n 

/                1                » 

/» 

,                         1 

ir^ 

•^    -i—  ej         1 

VS->> 

«j 

V          VI 

C\'                 1      -^          ■ 

•  1.       o 

1 

^ 

1 

1 

-(S- 


-(5'- 


#g: 


m-- 


\\^ 


-(^)- 


-G>- 


Harmonize :  — 


©E 


JS- 


-(S"- 


-gr 


-(9- 


-7S- 


15'- 


"27" 


©^ 


3 


-rS'- 


S'- 


"37- 


-G- 


sr 


9i 


-<S^ 


-Z7- 


-zr 


w 


-£i- 


JZ- 


-&- 


-G^ 


sr 


-ry- 


-i9- 


-&■ 


14 


THE  RHETORIC   OF  MUSIC 

5. 


^«— 

-S'— 

f^ 

'-,5'— 1 

-e/- 

-&- 

& 

~G>— 

^'. ^- 

2L^ — 

-&— 

US'— ' 

«> 

-(&— 

8 


6. 


-&- 


g 


l;i: 


-«5i- 


-iS-- 


-o      -^ 


Sir 


-sr 


-^ — g- 


^ 


7. 


8. 


5^= 


-(5'- 


-(©'- 


ly 


-iS'- 


-&- 


-G>- 


sr 


■z?- 


"Z?- 


sr 


-&- 


-&- 


3  S 


9. 


-zy- 


-(5'- 


-i5'- 


iS?- 


"S^ 


27- 


iiiS 


5j 


^t 


-&- 


-sr 


sr 


m 


t 

10. 


EE 


"zy- 


(5^ 


-G- 


"Z?- 


-zr 


3        p 


Q       5Q 


-s^ 


-&- 


~G- 


sr 


-&- 


-(5>- 


Sr 


11. 

25- 

-«> — 

n?5 

^ 

h^^ 

— 

-&— 

-^- 

[-25^ 

«/ 

12. 

-.©'— 

C 

13. 


-(5'- 


sr 


■i5>- 


:s^ 


-(5^ 


"ZT- 


9^ 


-iS'- 


"Z?- 


-I^- 


-(2- 


-G>- 


■G>- 


14. 


^i£ 


-<$"- 


-I©'- 


sr 


-sr 


-&- 


-fy- 


-^- 


5J 


-&- 


The  harmonizatiou  of  the  above  basses  is  sufficient  to  place  the 
material  in  the  hands  of  the  student,  who  should  now  be  able  to 
compose  his  own  bass  ;  taking  care  to  select,  not  only  interesting 
harmonic  progressions,  but  also  those  progressions  which  in  obe- 
dience to  the  laws  governing  them  cause  but  few  common-tones  to 
appear  in  the  upper  voice  (soprano),  thus  heightening  the  mel- 
odic interest  and  serving  as  a  preparation  to  the  harmonization  of 
melodies. 

Melodic-Outlines 

A  melodic-outline  is  a  succession  of  consonant  incidents.  Wlien 
in  equal  rhythms  the  principal  melodic  interest  is  attracted  to  the 
upper  voice;  in  unequal  rhythms  only  may  inner-voices  become 
prominently  melodic. 


THE  RHETORIC  OF  MUSIC 


15 


In  the  harmonization  of  the  following  simple  melodies  it  is  not 
always  necessary  to  retain  common-tones  in  the  same  voice. 

Harmonize:  — 
1.  2. 

0    s> 


-s>- 


-&- 


sr 


-iS- 


-TSr 


-&- 


-G>- 


"gy 


3. 


i 


sr 


-G>- 


-&- 


Sr 


-iS>- 


~zy- 


i 


-Gh 


-zr_ 


-G>- 


.a 


-<5>- 


i 


s 


»Hr-^ 


sr 


-19- 


-G>- 


~Z7- 


"25" 


-(S"- 


feP^ 


-iS'- 


-G>- 


-z?- 


-(S*- 


-r©'- 


-iS"- 


The  harmonization  of  these  few  melodies  will  bring  to  the  student 
a  perception  of  material  other  than  plain  triads  in  root-position,  as 
the  harmonic  and  melodic  appreciation  is  usually  much  in  advance 
of  the  theoretical  knowledge.  Students  should  be  allowed  to  pro- 
gress as  rapidly  as  possible,  as  an  unnecessary  review  of  previously 
studied  material  has  a  tendency  to  render  the  student's  capabilities 
dry  and  matter-of-fact,  thus  impeding  any  subsequent  tendencies  to 
a  free  musical  thought.  Original  melodies  should  be  composed  very 
freely  and  harmonized  with  the  material  already  in  hand.  This 
cultivates  the  technic  of  thinking  all  voices  simultaneously. 

The  original  melodies  may  be  composed  in  the  form  of  simple 
phrases,  as  the  above,  or  the  interest  may  be  made  more  keen  by  the 
use  of  the  song- period. 

The  Song-Period 

A  phrase  is  a  definite  musical  idea ; 

A  section  consists  of  two  phrases ; 

A  period  contains  two  sections,  or  four  phrases. 
Phrases  consist  of  two  or  four  measures  —  occasionally,  three 
measures.     The  length  of  phrases,  as  well  as  the  rhythmic  accents, 
are  destined  to  conform  to  the  poetic  lines  and  accents. 


16 


TEE   RHETORIC   OF  MUSIC 


The  form  in  use  for  a  simple  hymn-setting  is  especially  valuable 
in  one's  early  compositions  as  the  material  used  is  simple  and  dig- 
nified. 

Here,  again,  one's  innate  sense  of  harmony,  melody,  and  rhythm 
must  serve  as  a  guide.  The  suggestions  below  are  not  intended  to 
produce  a  composition  of  machine-made  propensities ;  but  merely  to 
call  attention  to  the  necessity  of  a  consequent  and  well-balanced  mu- 
sical thought. 

The  first  phrase  announces  the  subject-matter,  or  material  for  de- 
velopment; it  is  usually  laid  in  the  tonic. 

The  second  phrase  is  an  answer,  or  a  contrast  to  the  subject ;  it  is 
most  always  in  the  dominant. 

The  third  phrase  returns  to  the  subject  to  keep  firm  hold  of  the 
text,  though  some  form  of  deceptive  cadence  is  suitable  to  close 
this  phrase. 

The  fourth  phrase  outlines  a  complete  cadence,  and  may  contain 
entirely  new  material,  or  draw  on  any  of  the  foregoing  phrases. 

This  form  is  capable  of  many  deviations  in  the  matter  of  length 
as  well  as  in  the  harmonic  or  melodic  content. 


Phrase. 

Subject:  I. 


Contrast:  V. 


^ 


I 


mE^- 


■st— g 2^ 


-^z-?- 


'<S>- 


-1=2 g- 


^=^ 


-<S 


VI      II     V     VI  IV      V 


f  f  r  r  r  r 

I        VI     V       I       IV     V 


JS.- 


-fS"- 


^ 


-S3 


-&- 


-iS>- 


Return  to  subject :  I,  vi. 


Conclusion:  IV,  V,  I. 


-irr 


-zi — ^- 


<s- 


-Gh- 


-f=2 «- 


p  f  -  r  r  f  -  -^  -p-  I   f-  1    r  f- 

I     VI      V       I       IV    V        VI        IV   II       V      in     IV    V 


^ 


i^i 


-O- 


^ 


-<s>- 


This  choral  is  necessarily  somewhat  constrained,  as  it  contains 
only  plain  triads  in  root-position.  As  the  student  progresses  he 
may  be  allowed,  in  this  form,  the  use  of  inverted-triads,  seventh-chords 
and  their  inversions,  and  modulations.     Much  dissonant  material  is, 


THE  RHETORIC   OF  MUSIC 


n 


however,  derogatory  to  the  desired  choralistic  effect.  Suspensions 
are  rarely  desirable  as  they  ritard  the  motion.  Passing-sevenths  and 
passing-tones  are  useful  later,  Altered-chords  are  generally  unsuit- 
able for  chorales. 


IxvERSiON  OF  Triads.  —  The  Six-three  Chord 

This  is  the  first  inversion,  second  position  of  the  triad,  and  assigns 
the  third  to  the  bass.  The  third  of  the  triad,  when  in  the  lowest 
voice,  becomes  more  prominent  than  when  elsewhere  ;  therefore  any 
doublings  of  this  third,  other  than  those  mentioned,  will  be  care- 
fully avoided. 

A  triad  in  six-three  position  may  enter  degree-wise  or  by  skip. 
The  resolution  is  free  in  all  cases  save  six-three  position  of  the 
dominant  which  places  the  leading-tone  in  the  bass.  This  leading- 
tone  will  resolve  in  accordance  with  the  rules  already  given,  unless 
during  the  appearance  of  the  same  harmony  it  change  into  another 
voice  in  which  it  finally  resolves. 

Six-three  chords  appear  well  in  succession  ;  it  is  necessary,  only, 
that  a  fourth  voice  be  given  an  alternate  doubling^  between  the  bass 
and  one  of  the  upper  parts. 

Six-three  position  of  the  subtonic  is  the  most  satisfactory  position 
in  which  that  triad  may  stand. 


First  inversion. 


etc. 


tJ 


pt 


s>- 


-jS- 


75r- 


^f: 


-<5>- 


•  a 


e 

3 


Succession  of  six-three  chords. 


-S)- 


-G>- 


-G>- 


-£^- 


-&- 


_(2- 


_i2- 


a 


I 


SL 


-(S- 


'sr 


\\\^ 


"Sr 


-<S>- 

I 


-&- 


II 


in 


I" 


-(S"- 


-O- 


-(5^ 


V 


-i&- 


I 

-i5>- 


-7g~ 


-&- 


jO- 


1  The  doubling  of  this  great-third  is  permitted  on  account  of  the  symmetry  in  the  pro- 
gression of  the  tenor  voice :  it  partakes  of  the  nature  of  sequence  ( a  similar  repetition  of 
a  harmonic  or  melodic  design )  in  which  mauy  things  are  permitted  that  under  ordinary 
conditions  should  not  be  allowed. 


18 


THE  RHETORIC    OF  MUSIC 


The  Six-four  Chord 

This  is  the  second  inversion,  third  position  of  the  triad,  the  fifth 
being  placed  in  the  bass.  Six-four  chords  are  not  used  so  freely  as 
eix-three  chords  ;  but  are  limited  to  the  following  restrictions  :  — 

The  six-four  chord  may  — 

—  Enter  and  resolve  degreewise  ; 

—  Enter,  by  skip,  on  the  accent  and  resolve  into  root-position  of 
the  same  bass-note. 

—  Occur   as  a  retained  tone  between  two  appearances  of  the 
same  triad  in  the  same  position. 

The  six-four  position  of  the  tonic  may  enter,  on  an  accent,  degree- 
wise  or  by  skip  and  resolve  into  six-four-two  position  of  the 
dominant  seventh  chord.  (  See  inversion  of  dominant  seventh 
chords.) 

A  parallel-fifth  which  may  occur  from  the  supertonic  to  six-four 
position  of  the  tonic  is  avoided  by  doubling  the  root  of  the  tonic. 


Degreewise 

is: 


By  skip. 


As  a  Retained  Tone. 


^t 


-ts- 


-&- 


S 


~sr 


IV 


-gy- 


^ 


sr 


6 
4 


Parallel-fifth. 


6 

4 


n 

1/ 

1 

y                                  , 

frT~ 

S>, 

1  ^  ^i                    1 

\^y 

fj 

f^                    1 

«j 

II 

I 

c^v  • 

^7                    1 

T*             I'D 

V               ^ 

1 

I  (f)  Resolved  into  V  (4) 
*  11' 


"TC"- 


w^-- 


_(g_ 


-d- 


-f9- 


-3-- 


-O- 


sr 


s>- 


I 


V. 


I    etc. 


-&- 


"Sr- 


6 
4 


6 
% 


Avoided. 


etc. 


w 


s 


II 


JS- 


I 


etc. 


9^ 


-G- 


6 

4 


THE  RHETORIC    OF  MUSIC 
Sequence  of  Six-four  Chords  passing  Degreewise. 


m 


9^ 


=1= 


-TSi- 


"Zg~ 


I 


-?y- 


-i&- 


I 


19 


5^ 


O- 


jS.- 


-t5>- 


1^^ 


^: 


-i&- 


III 


VIl^ 


III 


"zy 


-jS2_ 


6 

4: 


Hi 


.jE_ 


_iS_ 


--^S^ 


IV 


"S^ 


e 
4 


-«>- 


-2y- 


-751- 


rv 

-G>— 


etc. 


6 


The  following  basses  are  to  be  liarmonized  in  several  different 
positions,  that  is :  beginning  with  root,  third  or  fifth  in  the  upper- 
voice,  and  in  either  open  or  close  position. 

Harmonize :  — 


-»^ 

C\' 

a  ■  ^    \  ^,  - 

0 

-  s^  ■ 

•  !• 

0 

^ 

^^^ 

^        s^ 

-^ 

^ 

^ 

0  ■ 

^ 

1 

2. 

3. 

r^' 

0.  •    K 

^y 

M« 

0 

^:i 

e> 

T'.  "      (^ 

^ 

^ 

-^  b  k 

iS' 

9  17 

b„      6 

3$ 


4. 


O*     Hi      '^ 

C\' 

J-.  " 

0 

s^ 

T- 

^ 

^    b  h 

Si 

a 

i^      e> 

.      ^/ 

^ 

6  8  6 


«2 

-<5- 

5. 

C\' 

fs 

(^ 

cr\' 

G' 

T- 

T* 

_{2 

^ 

^ 

^^       (^ 

6 
4 


6. 


-f^- 


S>J,^    I 


6 
4 


-tSi- 


91 


-<9- 


"25^ 


-(S?- 


"Z?- 


t- 


-G^ 


-iry- 


5 
3 


6  6 

4 


6  5 

4  3 


6  6 

4 


20 


TRE  RHETORIC    OF  MUSIC 

7. 


:^ 


-er 


-G- 


6 

4: 


-zr 

6 


-<S>- 


^^f^ 


-(&' 


i^ 


l=s 


-i5»- 


■JSr 


-G>- 


-sr 


-&- 


%        % 


6         6  6 


6 

4 


-^- 


8. 


Si* 


9^ 


-fS"- 


-s>- 


-sr 


-G>' 


-7y- 


6  6         o 

4:  3 


6  6         6         6 

4:  4. 


9. 


^^ 


is- 


lO. 


§iit 


-<5^ 


^ 


-«^ 


6  6 


g 


6         5 
4        3 


-&—^ G- 


-O- 


-&■ 


0  6  6$ 


-&- 


6 

4 


is 


sr 


sr 


F^i-- 


e        I 


6        a 


6 

4: 


"3?- 


-^9- 


I 


■tS>- 


CHAPTEK    III 
seventh-chords 

Classification 

By  the  addition  of  a  third  above  the  fifth  of  a  triad,  a  seventh- 
chord  is  formed.  Seventh-chords  are  of  two  classes :  consonant  and 
dissonant. 


Consonant  Seventh-chords. 
Major  mode. 


Dissonant  Seventh-chords. 


i 


-&- 


-&- 


-&r 


i 


-O- 


ts- 


-&- 


«=& 


uO. 


-&- 


-^r 


-<s>- 


~&- 


-O- 


-%- 


g    ^ 


i 


Minor  mode. 


-<g- 


P 


Itg 


■3^ 


-z?- 


t^     ^tf^ 


>g-7?^ 


fe 


~S^ 


"27 


*^^^=^=^=^ 


SI* 


7         7 


-^     7 


^-^ 


_<22- 


CoNsoxAKT  Sevexth-chords.  —  The  Dominant  Seventh 


The  seventh  of  the  dominant  harmony  may  enter  ••'  free  "  (  degree- 
wise  or  by  skip  ) :  its  natural  resolution  is  downward  one  degree ; 
\isually  into  the  third  of  the  tonic.  This  seventh  may,  however, 
have   for   its    resolution-tone,    the    fifth  of   the    submediant.     The 


THE  RHETORIC    OF  MUSIC 


21 


retention  of  the  incident  of  the  seventh  in  the  same  voice  will  also 
serve  as  a  resolution  lor  the  seventh,  or  it  may  change  parts  before 
resolving.  If  moved  to  a  different  incident  of  the  same  harmony 
the  resolution  may  be  given  up  altogether.  The  fifth  is  usually 
omitted  when  seventh-chords  stand  in  root-position,  though  it 
may  be  present.  Two  voices  are  not  permitted  to  move  in  the  same 
direction  into  the  resolution-tone  ;  pa.rticularly  the  root  and  seventh, 
as  the  effect  tends  to  cover  the  leading  of  one  of  the  voices. 


Resolutions  of  Dominant-seventh. 


7  7 

In  Deceptive  Cadences 
Faulty. 


Satisfactory. 


^i 


a  • 


VI 


III 


i 


sr 


is 


-gm^ 


~\-G'-\-<S- 


r^s^ 


9^ 


V 

-ITS' 


^^'5> 


-^sr 


S^l 


VI 


V(a)V 


II 


-O^ 


-(5>- 


V 
sr 


(S^ 


TI 


i 


Inversion  of  Dominant  Seventh-chords 

The  inversions  of  the  dominant  seventh-chord  :  six-five-three  (third 
in  the  bass  ),  six-four-three  ( fifth  in  the  bass),  are  subject  to  the  same 
conditions  as  those  governing  the  use  of  the  six-three  and  six-four 
chords.  The  six-four-two  chord  (  seventh  in  the  bass )  requires  to  be 
followed  by  some  harmony  which  may  allow  the  seventh  to  resolve, 
always,  one  degree  downward.  The  inversions  of  all  seventh-choi-ds 
appear  best  with  the  triads  complete. 


Natural  Resolution. 


Irregular  Resolution. 


(M 


iThe  parallel-fifth  resulting  from  the  upward  movement  of  the  seventh  is  not  ob- 
jectionable, as  one  fifth  is  small. 


22 


THE  RHETORIC   OF  MUSIC 


The  Diminished  Seventh-chord 

Tlie  diminished  seventh-chord  may  enter  "  free  "  in  any  position. 
The  seventh  usually  resolves,  though  it  may  become  a  consonant 
incident  of  the  following  triad.  They  appear  well  in  succession, 
in  different  positions,  and  even  the  small  fifths  moving  parallel  are 
not  objectionable. 


Natural  resolutions. 


i 


-ig- 


-<s>- 
-l9- 


-7Zr 


1^ 


-^ 


-&- 


-CL- 


-^- 


-f9- 


-TSr. 


-f9- 


U 


i 


-iZ- 


S>- 


I         VII° 


^^te 


~Z?~ 


^ 


-O- 


-O- 


I  (a)  vii°    I      vn°       I       vii° 


-(S- 

1 


V 


VU"       IV 


-&- 


#= 


-i^^^~r^g? 


-G>' 


-o- 


6 
X 
3 


6 


6 
4 


6 
4 


5 

B 


Dissonant  Seventh-chords 

These  sevenths  almost  always  require  to  be  prepared  (  sounded 
as  a  consonant  in  the  preceding  chord  by  the  same  voice).  The  res- 
olution one  degree  downward  is  nearly  always  necessary.  They 
may,  however,  be  retained  in  the  same  voice  and  become  consonant, 
after  which  they  may,  or  may  not  resolve. 


etc. 


9^ 


-CL. 


-O.- 


(g 


-(5>- 


-O- 


JS.- 


6 
5 


6 
4 


In  a  sequential  progression  of  seventh-chords  in  root-position  the 
fifth  of  every  alternate  triad  must  be  omitted. 


* 


:f: 


-&2 


=^ 


~I9^ 


'-^- 
-«"- 


~a- 


-Gf- 


i 


II 


IV 


vii"- 


III 


VI 


II 


"zr- 


-6t- 


-O.- 


-&- 


-a. 


-&- 


_(2_ 


-&- 


THE   RHETORIC    OF  MUSIC 


23 


The  inversions  may  also  appear  in  sequence.     The  triads  should 
be  complete. 


p^^=\ 

<9 

& 

IS 

G> f5> 

-^j— 

I 

-i5>- 

II 

1 ; 

V 

'**- 

I 

IV 

r-^ ' 

VII° 

, — g  " 

— s-zr^ 
III 

— i...; — 

VI 

— r — ^ 
11 

^t"  g? — - 

zf— 

I 

1 2 

-         ?^ 

4 

1 — a__i 

:-^ 

a ' 

6 

1 6 1 

tzzfizd 

The  degreewise  entrance,  downward  from  the  root  of  a  triad  is 
also  a  satisfactory  preparation  for  the  dissonant-sevenths;  they 
always,  however,  resolve  into  the  root,  or  the  third  of  the  following 
triad. 


etc. 


-&- 


A  degreewise  entrance  upward  is  permissable  in  case  of  the 
small-seventh  upon  the  subtonic  in  the  major,  or  the  supertonic  in 
the  minor  mode  if  the  regular  resolution  follows.  A  "free"  en- 
trance from  below,  in  unequal  rhythms,  is  not  always  undesirable, 
even  in  the  case  of  the  more  dissonant  seventh. 


-^- 


-G>- 


JS 


9^: 


11= 


-G>- 


V7 


-iS- 


I    (i 


-f5>- 


24 


THE  RHETORIC   OF  MUSIC 


Alterations  of  Seventh-Chords 

The  alteration  of  the  fifth  of  the  dominant  seventh-chord  gives 
an  additional  interest  to  the  chord,  as  well  as  to  its  natural  resolu- 
tion. If  the  fifth  be  elevated  it  resolves  upward,  if  depressed  it 
resolves  downward.  The  altered  fifth  should  stand  above  the 
seventh. 

Augmented  six-five-three,  six-four-three,  and  six-four-two  chords  are 
inverted  seventh-chords  having  one  or  more  incidents  elevated  or 
depressed.  They  may  enter  without  preparation,  and  resolve  as  do 
their  prototypes :  or  their  various  resolutions  are  valuable  as  means 
of  modulation. 


Dominant  Seventh 
Elevated-fifth.         Depressed-fifth. 


is 


/2- 


9r 


-ffij 


I 


?&- 


•-G>- 


I 


-G>- 


-dk- 


lb 


Augmented  Six-Fite-Theee 
Prime  augmented. 


9^ 


_iiL- 


-^ 


-jC- 


&    - 


-<22^ 


s 


'^yz- 


2-52- 


IV 


-&- 


-6- 
5 
3 


(»)i 


(IV) 


~G>- 


<2- 


-O- 


-6- 

■i 


Vetc. 


-C2_ 


•3» 


Augmented  Six-Four-Three 

Third  elevated. 


Augmented  Six-Fouk-Two 
Root  and  Fifth  elevated. 


tJ 


m- 


-j:Z- 


-O- 


-€2- 


i§: 


II2Z- 


-O.^ 


-G>- 


:^i:± 


.<§- 


(11°)       V     or 


Pfei 


C.    V 


-G>- 


F.ii 


9^ 


f 'G>- 


'G>- 


-0 1 


-f5>- 


Vetc. 

5k_ 


a 


-J — e 


aa 


6b 


Note.    Alterations  of  the  six-three,  and  six-four  chords  are  possible,  though  they 
are  less  satisfactory  — the  seveuth  being  omitted.    The  altered  six-three  chord  permits 


•i.  doubling  of  the  fifth  only: 


The  altered  six- 
four  chord  may 
double  the   root: 


THE  RHETORIC   OF  MUSIC 


25 


3^ 


Harmonize 
1. 

■sr 


-zr 


-&- 


sr 


-G>- 


G>- 


-i5>- 


'z:r 


jS- 


g 


2. 


f- 


JS- 


-&- 


-a- 


i 


# 


S>       ~Sr 


1 


St 


-G)- 


-iS>- 


f- 


-GI- 


ST 


-&- 


-G>- 


-&- 


6 

4 


4. 


7 


7 


-or 


^i 


-G- 


-TSr 


-sr 


-G- 


^til? 


-G- 


O  I  &> 


-G- 


"Sr- 


■<S'- 


-(5'- 


m 


is- 


-C2_ 


"27" 


6. 


6        7 


-is^ 


^^. 


isfei 


-5^ 


-«^ 


"Z?- 


^ 


-iSZ- 


-s*- 


-z?^ 


-sr 


-i9' 


m 


-O- 


t5i- 


"i?7- 


-G>- 


%^ 


6        6         6 

4: 


6 


6        6 


6 

4 


7. 


^^^- 

-1^— 

-(9— 

-O*     cr 

ei 

^^ 

■&r- 

<? 

pSH 

-1^- 

«^ 

"S?- 

ii-- 

5        O 
3 


8. 


6        7 
4 


Sit 


6        6        6 
4 


-G- 


-G>- 


9^ 


^-^r 


^-Z^_^:f 


-i9- 


■sr 


-G- 


-G>- 


-fZr 


sr 


6 
4 


9, 


1% 

a* 


I 
3 


6 

2$ 


7 


' 

/^ 

C\' 

C^ 

1 

J^-t-       G> 

i 

}^i- 

-^ 

^ 

^ 

,-^ 

-^  n 

>^ 

*-^ 

i^ 

t 

T 

10. 


6*       6 
3* 


0 
4 
3 


I 
3 


6  6 


7 

8 


SSfe 


IE 


-15"- 


-&- 


"Z?" 


"75^- 


-«'- 


-fS"- 


j2Z- 


tS'- 


-25^ 


11. 


6 


6 
4 


l» 


6 
4 


6 
4 


"zr- 


-27- 


^ ST 


-2? ^- 


T^ 


-zr 


-G- 


-(9- 


.a 


-&- 


-O- 


12. 


6 
5 
3 


6 
% 


6  6 


-G- 


sr 


42_ 


6 

4 


-fi>-    -yS^ 


z?- 


"2?- 


-G- 


-25 (5' 


-1S1 — I 


-G- 


-5^ 


6 
4 


13. 


6 

4 
3 


-G- 


6 
5 
3 


6 
4 

3 

4 


=0^ 

\% — 

-  ^■-  - 

1 

1 i 

1 1 

^^ 

^ 

^ 

^^ 

-ft — ^ 

-ts" — 



e> 

~G — 

G 

6  6 


6 
4 


6 

4 


6 


26 


THE   RHETORIC   OF  MUSIC 


14. 


Siig* 


»- 


-(&- 


-TV 


-Or 


-zr 


^^ 


-zr- 


■3^ 


-&- 


-&~ 


-O- 


sr 


-TSr 


15. 


6  7^ 

4  6$ 


^^ 


-S'- 


-($'- 


-Z7- 


-5^ 


-iSh- 


-&- 


gj   I  g-r-g'-p^ 


^ 


^ Z7 


-f©- 


sr 


16. 


6  7 

5 

3 


6 
4 
3 


3 


•^        t 


-«'- 


^ 


^i^ 


-5^ 


-«>- 


-27- 


-&- 


-&- 


sr 


-ZSr 


-«>- 


^&- 


■Sr 


-z?- 


17. 


e       6 

6 

3 


t       ^ 


6  6  6 

5  4 

3 


^^ 


-i5>- 


-z?- 


15'- 


^?- 


(5'- 


"Z?- 


t 


"Z?- 


-<5^- 


■75- 


■z?- 


■27- 


-Z7- 


18. 


0 
4 
3 


6 
4 


a 


6 
4 


19. 


rot-    ^ 

' 1 

1       1 



pS?— 

Ci" 

^. 

r> 

r^ 

^ 

'-^ 

c> 

^^ 

^*       .r3 

^ 

'&^ 

, 

.^           f> 

K*-, 

1 

(V 

2<=^ 

U51-J 

0 

6 
3 


6 
4 


6 
4 


0 
4 
3 


6 
4 


7 


6        6 
4 


0 
4 


=r 


-z?~ 


-($'- 


(S*- 


-s^ 


-1$'- 


s>- 


~G>- 


-27- 


20. 


0 

5 
3 


6 
4 


6.  6 


6 


-t^- 


^ 


§ii 


-ig —  ::sr- 


-6'- 


S*- 


ZT- 


0 
4 
3 


-fS*- 


ZT" 


4J         6 


tS"- 


iS>- 


-Z7 

6  6 

4 


-27- 


-&- 


6 

i 


7 


CHAPTER   IV 

MODULATION 

A  modulation  is  a  transition  of  tonalities,  effected  by  the  substi- 
tution of  one  or  more  tones,  or  triads,  in  one  tonality  for  those  of 
different  degrees  in  another.  The  complete  cadence  establishes  the 
new  tonality. 

To  Relative-Minor  Mode 

A  major,  and  its  relative-minor  mode  contain  four  triads  in  com- 
mon: — 


THE   RHETORIC  OF  MUSIC 


27 


Common-triads 
II  IV 


VI    Yir 


Modulation  C  to  a. 


i 


-25- 


-G>- 


-Gh- 


C=I 


-Try- 


"3?- 


VI 


-&- 


s>- 


sr 


-Z7- 


-zr 


-i&' 


-7S- 


-i9- 


-sr 


-i9- 


-G>- 


-&- 


-i5>- 


-^^ 


ili^ 


II 


CI 

-G>- 


Pt 


i^y- 


-27" 


-(5^ 


-z?~ 


i 


Zr- 


-(5>- 


CI 


_(S2_ 


-6- 
-4- 
-3- 


a=i     IV 


(a)     V 


(a) 


a   I  as 


-<©>- 


tS>- 


"zy- 


"z?- 


-(S>- 


CI 


-6- 


I     (a)     V 


A  modulatory-degree  consists  of  five  staff-degrees  —  upward  :  by  el- 
evation; downward:  by  depression.  The  circle  of  fifths  outlines  all 
tonalities  as  from  one  to  six  degrees  distant,  A  similar  relation- 
ship existing  between  all  tonalities  may  be  expressed  iu  the  follow- 
ing ratios : — 


By  Elevation. 

( 

Tonalities.  ) 

One  degree  removed  — 

C: 

G    :  :  G  :  D,  etc. 

Two  degrees     "       — 

C: 

D 

:  G:  A,    « 

Three     "          "       — 

C: 

A 

.  G:  E,     " 

Four      "         "      — 

C: 

E 

:  G:  B     " 

Five       "         "      — 

C: 

B 

.   :   G:   r|$   " 

Six        "         "      — 

C: 

n 

:   G:  C| 

or                 or 

Gt?              Db,  etc 

By  Depression. 

One  degree  removed  — 

C: 

E    :   :  F:  Bb 

Two  degrees    "       — 

C 

Bb: 

:  E  :  Eb,  etc 

One  Degree  Removed 

The  close  relationship  existing  between  adjoining  tonalities  is 
due  to  four  common-triads. 


28 


THE  RHETORIC    OF  MUSIC 


By 

Elevation 


Depression 

Note.  The  necessary  chromatic  alterations  of  the  incidents  sometimes  produce 
false-relations.  These  are  less  faulty.if  when  the  voice  sounding  the  unaltered  incident, 
in  the  octave  doubling,  move  outward  or  degreewise,  thus  covering  the  impression  left 
by  the  natural  incident :  — 


Faulty. 


Better. 


Modulation  C  to  G  and  Return. 
By  Elevation.  By  Depression. 


1 


w 


-l5>- 


C  I 


-G>- 


VI 


t» 


tG??: 


-.^ 


-G>- 


-i9- 


^Sfe 


19- 


■27" 

V 


I 


IV        V         I 


1 — ^- 


-7Sr 


sr 


-G>- 


G  IV        II 


-tS>- 


_l2_ 


IV 


■n^ 


2?- 


-6>- 


-O- 


The  enharmonic-representation  of  Fj:|  and  Gb  permits  the  same 
relation  to  exist  between  the  tonalities  of  F||  and  Db  (  one  modula- 
tory-degree  ),  as  that  sustained  between  the  tonalities  C  and  G. 


From  Y%  to  Db  and  Ebturn 
By  Elevation.  By  Depression. 


lSli^P^»F 


-^- 


-l«>- 


:J2^(:i^): 


IV 


\G^- 


-;:s: 


-::^ 


IV 


THE   EHETORIC    OF  MUSIC 
Two  Degrees  Removed 


29 


A  modulation  two  degrees  removed  is  less  desirable  than  a  closer 
or  further  removed  relationship.  There  are,  however,  two  common- 
triads  through  which  the  transition  may  be  made. 


D. 


C. 


Ill 


False-relations  are  more  apt  to  occur  here  ( two  degrees  removed  ) 
than  elsewhere ;  and  care  shall  be  taken  to  avoid  the  alteration  of 
any  incident  except  in  the  same  register. 


Faulty. 


From  C  to  D  and  Eeturn 
Better. 


D  IV 


Three  Degrees  Removed 

The  relation  between  tonalities  further  removed  than  two  de- 
grees may  be  sustained  by  common-tones ;  but  a  more  satisfactory- 
means  is  found  in  the  substitution  of  a  minor,  for  a  major  subdomi- 
nant  in  the  elevated  tonality  :  — 


IV 


A. 


C. 


II 


:(i;) 


z?- 


Z7- 


-6>- 


-O- 


-i^- 


tS 


-&- 


g  ,^  ^  ^-^^ 


-^ — ^ 


so 


TUE  RHETORIC   OF  MUSIC 


From  C  to  A  and  Return 
By  Elevation.  By  Depression. 


w 


-G>- 


A 


:s- 


-G>- 


m 


t 


-z?~ 


-15'- 


m-- 


-&- 


-zr 


C  I         II 
A  (IV) 


Cii 

(IV) 


sr 


V 

— 7- 


-S>- 


-G^ 


-G^ 


"Z?~ 


-zr 


FouK  Degrees  Removed 

The  submediant  of  tlie  depressed  tonality  becomes  the  minor- 
subdominant  of  the  elevated  tonality. 


E. 


C. 


-H: 


IV 


n 


-&- 


-ry- 


-(9- 


:<|)S 


-&- 


-i9- 


-s^ 


-^- 


-&- 


-&- 


-sr_ 


From  C  to  E  and  Return 
By  Elevation.  By  Depression. 


-sr 


-Sr 


C  I  VI 

E  (iv) 


\ 


V 


I  (IV) 

Cvi 


-&- 


is: 


-zj- 


1 


9t 


-gr- 


-25r 


I — 7_ 


-z?- 


FivE  Degrees  Removed 

The  mediant  of  the  depressed  tonality  becomes  the  minor-sub- 
dominant  of  the  elevated  tonality. 


THE  RHETORIC   OF  MUSIC 


31 


From  C  to  B  and  Return 
By  Elevation  By  Depress'on 


( 


-z:r 


-«— 


CI  in 

B     IV 

-G>- 


-^-\^ 


V 


C    HI 

I  IV 


:P 


22- 


:g: 


-&- 


-izr 


-&- 


-ar 


5i 


6 
4 

3 


Six  Degrees  Removed 
This  transition  may  be  effected  through  frsvo  common-tones 


These  two  common-tones  are  incidents  of  the  dominant  seventh- 
chords  of  both  tonalities.  Hence  the  dominant  of  one  may  follow 
the  dominant  of  the  other  by  the  alteration  of  the  two  remaining  in- 
cidents of  the  harmony. 

From  C  to  Fjf  and  Return 


<9- 


-6>- 


C  I 


;:i9- 


"Z?- 

v" 


1- Jf  V7     I 


1^      tf^       -^  l^' 


1 


V 


c  V^ 


9- 


-a- 


-J2- 


-6>- 


4 
3 


%^ 


S^E^=I 


S 


The  modulations  through  common-tones  are  especially  adapted 
to  the  diminished  seventh-chords  as  a  means  of  transition ;  the  enhar- 
monic possibilities  being  many  : — 

Various  Modulations  Through  Common-ToneS  and  Diminished 

Seventh-Chords 


C     Idvii°7     EI     V7    I     F«  vii°  V^FJtl  F  vii°7  AbV  I    vi     V7I 


gT+tis' — !  i  ^~  ~t}?y  i?^ 


-7b- 


-B- 
-4- 


7p       6^ 
I  3J 


5  7|)       7i)       sb       3b     7  0 

55       .5b     5b     3a  Q 


32  THE  RHETORIC   OF  MUSIC 

The  Kelation  Between  Tonalities  fkom  One  to  Six  Degrees  Removed 


TUE  RHETORIC    OF  MUSIC 


33 


PART  II 


CHAPTER   V 

NON-HARMONIC  INCIDENTS 

A  harmonic  incident  possesses  the  capability  of  being  repre- 
sented or  suggested  by  the  non- harmonic  incident  which  lies  adjacent 
thereto.  The  different  usages  of  these  foreign  tones  result  in  :  sus- 
pensions, retardations,  anticipations,  changing-tones  and  passing-tones. 
Organ-points  are  representative  of  no  particular  harmonic  incident ; 
they  being  merely  retained  tones,  subject  to  a  consonant  entrance 
and  resolution. 

A  suspension  is  usually  prepared  from  a  consonant  incident  m 
the  triad  immediately  preceding;  it  may,  however,  be  prepared 
from  a  dissonant  seventh  which  has  itself  been  prepared  or  has  en- 
tered "free."  Any  tone  of  the  triad  may  be  suspended.  Only  the 
diminished  seventh-chord  permits  a  suspension  of  its  seventh.  Sus- 
pensions resolve  downward  one  degree  into  a  harmonic  incident. 

Prepared  and  resolved  suspensions :  — 


-^-^^ • — 'g ^—~ ■-■§ ' — y^ ' 


sr 


-<s- 


S^ 


"zr 


II 


V 


CV      aTii° 


I 


-<s- 

IV 


I 


-^:r 


sr 


^i 


l^z 


-I&- 


ir^ 


fS 


-G^ 


SB  7B 


4 

7 


5       - 
3       - 


The  fifth  of  the  dominant  harmony  permits  the  free  entrance,  and 
oftentimes  the  free  resolution  of  its  suspension.  Other  incidents  of 
different  harmonies  also  may  be  treated  thus.  In  any  case,  the  res- 
olution-tone may  not  appear  in  another  voice. 


54 


THE  RHETORIC    OF  MUSIC 


Unprepared  and  unresolved  suspensions :  • 


"27- 


"2: 


-.5^ 


II 


I 


•r^ 


-i9- 


-& 


S^- 


-<Si- 


I 

-G>- 


II     I     V 


I  II 


-z?- 


9t 


z? «■- 


-s*- 


■<s- 


^f^ 


JSl- 


JS- 


& 


6        7        6 
3 


4        3 

7        - 


6 
5 


6 
4 


7       - 
4       3 


5  - 
4  - 
3        - 


The  resolution-tone  of  a  prepared  suspension  may  be  present  in. 
any  lower  voice ;  but  requires  to  stand  at  least  one  octave  distant : 
it  may  seldom  appear  in  an  upper  voice  at  any  distance.  Parallel 
octaves  and  fifths  are  not  avoided  by  the  suspension  of  an  incident. 


Satisfactory. 


Faulty. 


( 
\ 


^S^ 


-&- 


-<s 


\^\ 


52- 


-&- 


^y- 


-JS.- 


^i 


-<5- 


^— Z^ 


-(5* 


■5^ 


V 


6 
5 


i 


-<5i- 
I 


-/S2_ 


i="^iil 


V  I 


-(Si- 


Suspensions  in  several  voices  are  subject  to  the  same  conditions 
as  those  occuring  singly. 


-0— ^ 

-^*- <9- 


-g?     I  C> 


|£jg 


J- 


-(&- 


-•s^-s. 


-e"— 1 — G- 


-sr 


^Q5 


I 


<5>- 


-<&- 


-iC- 


^t 


IV 


-G^ 


a 


ISr 


-<9- 


6 
.5 


4       3 

O       8 


9 
4 


8 
3 


THE    RHETORIC    OF  MUSIC 


'S5 


The  retardation  has  the  same  attributes  as  the  suspension  except 
that  its  resolution  is  upward  one  degree. 


b^si- 


ti 


V 


^^ 


VII^ 


^^ 


-Z5^ 


sr 


-&- 


A  non-harmonic  incident  may  be  interpolated  between  the  sus- 
pension, or  retardation,  and  its  resolution:  — 


-&- 


-J- 


:s^ 


ifzzzzz:  i^^^i^ES 


-g- 


-&- 


1^-1 — S 


V 


IV 


"25 

V 


■G>- 


9t 


-tS*- 


"S?- 


sr 


-z:r 


sr 


-d- 


The  anticipation  is  the  direct  opposite  of  the  suspension  :  it  may 
appear  in  one,  or  in  several  voices :  — 


The  organpoint  must  enter  consonant,  after  which  it  is  retained 
in  the  same  voice  during  the  movement  of  the  remaining  voices  in- 
to incidents  of  triads  which  render  it  dissonant :  it  resolves  by  be- 
coming consonant.     An  organpoint  in  two  or  more  voices  is  often 


effective. 


i 


9t 


-^- 


-f2- 


wv- 


.fZ- 


IV 


JSL- 


5 


-&~ 


p^3p=^^ 


IV      I 


G 
V 


C 
V 


JS- 


i 


36 


THE  RHETORIC   OF  MUSIC 


i 


r 


-^-^ 


J^ 


(5' — ;:^- 


-e2L- 


I 


II 


III 


IV       V 


VI 


-sr 


-■ar 


'Sr 


sr 


"Z?- 


V 


-z?- 


I 

sr 


-g?' 


A  changing-tone  lies  one  degree  (diatonic  or  chromatic)  above  or 
below  a  harmonic  incident ;  when  below,  it  is  better  but  a  small- 
second  removed.  Having  no  harmonic  value,  false-relations  are  sel- 
dom apt  to  result  from  any  chromatic  alterations  of  these  incidents, 
except  augmented-primes  and  octaves. 

Changing-tones.  Augmented  primes. 


The  changing-tones  both  above  and  below  may  be  used  before 
resolution  into  the  consonant :  — 


V^     etc. 


-G>- 


9^ 


_(2_ 
-<2- 


The  changing-tone  above  may  be  taken  by  a  skip  from  a  consonant 
below,  and  vice  versa  :  — 


-&- 


"Z?- 


i^ 


H9 •- 


=1: 


^a^ 


IV          etc. 
g?  1 


A  passing-tone  moves 
Passing-tones. 


'^^ 


THE  liHETORIC    OF  MUSIC  37 

degreewise  between  two  consonauts :  — 

Passing-seventh. 


canning  and  pa.sin.-tone.  "^  ^l^^^^ :::T^ 
t^.  '  t;* t£e»e  arJ^nled-slond  in  tHe  .inc.  .ode 

is  as  follows  :  — 

Faulty. 


^^^^^ 


Various  designs  produced  by  changing  and  passing-tones,  etc. : 


^^^^^^^- 


-&- 


-a- 


^-^— I 


I 


I 


1—6^ — 


38 


TEE  RHETORIC   OF  MUSIC 


i=t 


— -t- 
3t 


i 


J.— i~~J 


-isr 


sr 


-23- 

I 


f 


II 


-<5>- 


"27- 


^ 


is: 


"zr- 


i 


p^ 


VII° 


-(5»- 


f^ 


V 

sr 


-2?- 


Jo^«. 


5^ 


ip^ 


■;st 


P 


:e 


""Z7- 


I 


^s 


s_ 


"z?- 


-«'- 


"23- 


II       V 


1  etc.  V 


-l»- 


-tlfti 


"25^ 


■23- 


It 


-i5>- 


s  'g 


-S'- 


-ig- 


-Z3- 


"S^ 


"2?- 


-1$^ 


-<S>- 


-&- 


-^ 


22- 


:f= 


^=^ 


i 


"23- 


-JK 


6 
3 


\ 


i 


-(5'- 


-25^ 


iS>- 


-2?- 


-(2-. 


-CZ- 


-jitik-. 


Tsa 


-s*- 

-(S*- 


"23- 


-&- 


22- 


-ig- 


IV  I 


r 


HI 


(5'- 

IV~ 


-¥^ 


-23^ 


5 


-(51- 
"27- 


-zr 


VI 


-f5>- 


-6>- 


.^^f^^rg 


-ee- 


-?5i- 


t^ 


II 


-G>- 


-^^ 


IV 


-i — • 


-Z3- 


I  etc. 


-23- 


TEE  RHETORIC   OF  MUSIC 


39 


CHAPTER  VI 

MELODIC  VOICES 

Two  Voices.     Ix  Equal  Rhythmic  Divisions 

The  principal  tones  of  a  triad  are  the  root  and  the  third.  These 
incidents  produce,  in  combination,  intervals  of  great  and  small  sixths 
and  thirds,  which,  in  two  voices,  may  serve  as  a  satisfactory  substi- 
tute for  the  entire  harmony.  The  peculiar  combination  of  the  root 
and  fifth  of  the  diminished-triad,  as  well  as  its  tendency  toward  a 
certain  progression,  or  resolution,  permits  the  use  of  its  resultant 
intervals  —  the  augmented-fourth  and  small-fifth.  Hence,  as  har- 
monic foundation,  only  the  harmonic-consonants  are  available  ;  except 
in  the  beginning  and  closing  measures  where  the  unison  or  octave 
may  be  used. 

An  alternate  progression  of  thirds  and  sixths  is  always  effective. 
More  than  three  thirds  or  sixths  in  succession  destroy  the  independ- 
ence of  the  voice-leadings.  Parallel  great  thirds  and  small  sixths 
are  wanting  in  dignity.  Repetitions  in  or  by  either  voice,  in  the 
unison  or  octave,  destroy  the  effect  of  motion.  The  two  voices 
should  stand  within  an  octave  :  — 


i 


¥ 


-CZ- 


-G>- 


-©>- 


-G>- 


-Gh- 


jC2- 


-O- 


JS.- 


-e^ 


jO- 


jS- 


-G>- 


-(2- 


Si- 


-«5^- 


■d- 


-19- 


-1&- 


^ 


-iS- 


-O.- 


-O- 


-iS>- 


t5>- 


£i- 


jO- 


j:^- 


-O- 


-&- 


jO- 


-<9- 


-G>- 


JZ- 


-£2- 


-&- 


-ry- 


-&- 


jlS.- 


'25^ 


-Gh- 


To  be  avoided  :  — 

Parallel  great  thirds,  successive  tliirds  and  sixths 


i 


TO 


-O- 


JZ-. 


jO- 


-Gh 


-G>- 
Parallel  small  sixths. 


Repetitions  in  unison. 

-t5>- 


40 


THE  RHETORIC    OF  MUSIC 


Repetitions  in  Octave. 


^^^ 


Octave  exceeded. 

.(2- 


-<2_ 


■l9- 


-<^v 


-iS^ 


-ST- 


-i5>- 


.(S- 


-&- 


-G>- 


:i: 


JU- 


-a- 


-&- 


In  addition  to  the  above  restrictions  the  following  will  permit 
the  two  voices  to  be  inverted  into  the  octave  without  crossing. 

Covered  Octave. 


i 


p 


-f^ — i- 


.a. 


-&- 


a 


-fSi- 


-&-• 


L<2_ 


-ffi-, 


Covered  Octave  by  inverse  motion. 


•-&- 


'-&- 


Octave  exceeded. 


r-Gl- 


-O- 


If 


-jS- 


•s>- 


a 


VjO- 


-&- 


-^ 


-&- 


It  is  conveniently  desirable  that  these  studies  should  be  written 
upon  one  staff,  and  for  treble  voices. 

0)  Original.  (2)  Inversion. 


r\ 

IT) 

/     <^ 

^ 

1 

/ 

<3 

^ 

<3 

|<y 

1 

(? 

^ 

<y 

g 

/^ 

r3                \ 

xS 

) 

fT? 

g 

S^Zj 

'^                1 

«- 

(^) 

-^     ( 

)^ 

-&- 

e^ 

-s»- 

^©- 

In  Unequal  Rhythmic  Divisions 
Two  Notes  Against  One 

Motion,  in  one  voice,  may  be  produced  by  taking  a  different  tone 
of  the  same  harmony,  or  by  changing  the  harmonic-foundation. 
Harmonic-consonants  must  serve  as  harmonic  foundations,  on  all 
parts  of  the  measure  except  where  a  second,  fourth,  fifth,  or  seventh 
may  pass  degreewise  downward  from  the  root  of  the  triad,  produc- 
ing a  passing  seventh  :  — 


^^B 


-2?- 


15'- 


-(G_ 


^^^ 


sr 


-rg^  e? 


X2- 


jS- 


-f9- 


-G>-         7 

To  be  avoided :  — 
Open-Fifth. 


Open-Fourth. 


^ 


-s>- 


J- 


^- 


-<&- 


-&- 


-<^-tg 


(sa 


.O- 


-O- 


.O-. 


-&- 


-&- 


^EEE^ 


-&- 


Seconds.        Parallel  and  Open  Octaves.    Sevenths. 


-CL- 


:^=^ 


-&- 


-X 


-<5>- 


-G- 


THE  RHETORIC   OF  MUSIC 


41 


Suspensions  are  possible ;  though  their  use  ritards  the  motion :  — 


-35^- 


jS- 


-<&- 


2z: 


sr 

7 


-^52- 


^^ 


■tS»- 


e 


-<9- 


=1^ 


■i9- 


USL- 


r 


r^r^J  I J  ,^J_^ 


a         -         3 

The  voices  may  be  inverted 
(1)  Original. 


Tig 


^!5H 


-<S^ 


_(2- 


l^=±S 


-e?- 


42- 


-i5»- 


j2- 


-<S»- 


-&- 


(')  Inversion. 


sr 


-«>- 


.<S- 


-^- 


pEfe?^ 


£=£!: 


-(2— ,5- 


-f2— :.<2^ 


>g  ■  u 


Four  Notes  Against  One 


? 


-^2- 


Changing  and  passing-tones,  in  addition  to  the  foregoing  material, 
are  available.  A  suspension,  prepared  or  unprepared,  of  the  first, 
but  not  of  the  third  accent,  is  permissable  :  — 


Original. 


^m 


J^i^-t-i^rMd 


j^j^J-J-ij^l 


1S=i=±L 


St 


-f5> 


"Z?- 


-&- 


Inversion. 


s 


-i9- 


j2Z_ 


f=W^. 


-iSi- 


^ 


g 


"^ 


E^S 


:;;^ 


f^ 


33^: 


rY^ 


Three  Voices 


As  the  entire  triad  is  available,  the  harmonic-consonants,  alone, 
need  not  be  employed ;  though  the  harmonic  combinations  are  more 
satisfactory  when  they  (the  harmonic-consonants)  appear  between 
outer  voices  than  when  the  open  consonants  so  appear.  Adjoining 
voices  must  be  kept  within  (  or  not  exceeding )  the  octave.  Com- 
mon-tones ma}^  be  retained  in  the  inner  voice.  Note-against-note, 
two-notes-against-one,  and  four-notes-against-one  require  that  no  use 
be  made  of  the  fifth  of  the  triad  unless  it  pass  through  degreewise ; 
and  also  that  all  voices,  in  the  original  be  written  within  the  octave, 
if  they  are  to  be  invertible. 


42 


Original. 


THE  RHETORIC    OF  MUSIC 

INVEBBION  OF  OUTER  VOICES 

Inversion. 


1 
o 
a 


-iZ- 


-G>- 


-&- 


-O- 


-&- 


-&- 


-Z7~ 


ig 


"Z?- 


-&- 


^- 


-^--sr 


:5zg: 


-19- 


-&- 


~Cr 


sr 


-(g- 


-&-       -zr      -&- 


Original. 


Inversion  of  All  Voices 
Inversions. 


n 

\j 

1 

A.     ^ 

^-j 

^H 

fr\ 

t-^ 

!&z_   -^ 

fTJ 

j^  ' 

<J 

t^ 
-«'- 

a- 

-G- 

r~\  • 

9- 

vt i 

1 1 

^.    ^ 

'& — 

a 

^^ 

J    .^-    ^    -^ 

C\" 

i-«n 

T«       •^ 

'^ 

V 

n 

/      '^ 

r^ 

/  -     /^ 

^ 

1?^ 

V^  ^ 

-&-     -^     -&- 

Ql- 

T- 

-J 

■y  ^ 

-6* — 

ffT^^ 

-S— 

1 

T5^; 

»j 

-&- 

-^    -fi.- 

(-^  • 

'^v 

^ 

-j2iL 


i5>- 


1© — rg    I  g. 


-(2- 


9E=t 


^-    ^  -'^- 


1:: 


Motion  may  be  assigned  to  any  voice  :  — 


-&- 


-G- 


jSL- 


_OQ 


-iffi- 


-G>- 


-(9- 


-Y2- 


1 


etc. 


9t 


-* 


(S-     3-<2E- 


-(S?- 


-iS- 


etc. 


f=Pr-f 


jSiL. 


iS*- 


^^  ^   •   ^ 


-«- 


JS- 


ZSSSL 


etc. 


rrr 


-(S"- 


-G>- 


etc. 


1^-  -<2-  -^i-        --5>- 


-^  -  -#-  E 


^££i 


etc. 


^ 


I 


THE  RHETORIC   OF  MUSIC 


43 


Four  Voices,     Note  Against  Note 

A  plain  harmonization  except  that  the  inner,  as  well  as  the  outer 
voices  are  interesting :  — 


i 


-gr 


-(S>- 


-iS>- 


sr 


-&- 


-tS"- 


sr 


-G>- 


sr 


sr 


-&- 


-sr 


^- 


-iS'- 


-rr 


-&- 


"sr 


Two  Notes  Against  One 
etc. 


-Gi- 


~sr 


-^ 


ir^ 


-a- 


-G>- 


-G>- 


-^?- 


^^ 


-G>- 


-G>- 


t 


-&- 


"Sr 


S^ 


-^ 


etc. 


-«>— St- 


r 


etc. 


rr 


^t 


-G>- 


"Sr- 


-<s»- 


sr 


-&- 


-zr 


-G>- 


sr 


sr 


sr 


■G>- 


■G^ 


"Z?- 


-a- 


-&- 


sr 


-i9- 


-i5>- 


-&- 


-&- 


(0 


-G- 


-&- 


tS"- 


-6>- 


CL. 


sr 


To  be  avoided :  — 


~z?- 


-<Sr 


~&- 


sr 


~z?~ 


Pt^ 


-a- 

4 


-(©^ 


-<S*- 


:(vjc: 


«>- 


^v 


ZT' 


?=tf.g= 


8B 


Satisfactory. 


i 


:^^ — g 


T- 


\^ 


sr 


-&- 


sr 


sr 


-<S 


^- 


-^^ 


-«Sr 


-&- 


-gr- 


15'- 


:s; 


-s'- 


(5'- 


tS"- 


-r$^ 


5l 


etc. 


(S^ 


-s>- 


^^ 


-iS>— P.«|- 


1 A  skip  of  an  octave  may  be  permitted  in  the  first,  and  in  the  next  to  the  last  mea- 
sure in  the  lowest  voice. 


44 


THE  RHETORIC   OF  MUSIC 


Four  Notes  Against  One 

The  motion  may  be  assigned  to  different  voices  separately,  as  well 
as  being  confined  to  one  voice.  Under  these  conditions  retained 
tones  in  any  voice  are  less  apt  to  ritard  the  motion. 


""S: 


-sr- 


-G>- 


1 


-ST- 


-1 


sr 


-&- 


r 


-•-    ^    -^ 


9^ 


:t=^ 


-G>- 


-(2- 


f 


^^^^ 


-&- 


9i: 


^ 


Jt 


=tt|i 


sr 


-77- 


As  matter-of-fact  as  this  simple  device  may  seem,  it  is,  neverthe- 
less, an  invaluable  study  in  the  production  of  design  — quite  the 
most  important  element  in  melodic  structure.     It  is  but  a  short  step 
from  this  style  to  the  florid  rhythms  wherein  much  more  freedom  of 
thought  may  be  exercised.     A  valuable  exercise  may  be  found  in 
the  inversions  of  four  voices,  which  admit  of  twenty-four  positions, 
twenty-three  inversions.     The  restrictions  necessary  to  allow  these 
inversions  are  practically  the  same  as  those  for  the  inversion  of  three 
voices.     The  inversions  may  be  represented  by  the  figui-es  :  — 
1111112222223333  3   3444444 
223344113344112244112233 
342423341413241412231312 
434232434131424121323121 


THE  BBETORIC   OF  MUSIC 


45 


PART  III 


CHAPTER  VII 


DEVELOPMENT    OF  DESIGN 


A  theme  is  an  idea  announced  in  the  form  of  a  phrase,  a  section," 
or  a  period.  A  coherent  development  of  a  theme  is  dependent  upon 
a  means  whereby  the  theme,  or  subject,  is  kept  continually  in  the 
foreground,  and,  at  the  same  time,  in  some  form  sufficiently  varied 
to  avoid  monotony.  A  theme  may  be  developed  by :  — transposition, 
addition,  elision,  contraction,  alteration,  expansion,  inversion,  augmenta- 
tion, diminution,  etc. :  — 


Phrase. 


Transposition. 


^^ 


W=^ 


i 


i 


te 


Si 


El 


-tS-- 


S 


-^— » 


w 


--i 


J--il^«-i^ 


Motive. 


Addition. 


M 


^ 


Elision. 


I 


fe^ 


Efe 


^i^ 


^ 


^ 


Contraction. 


i 


i? 


S^S^ 


Alteration. 


fcp 


g=H^ 


-G>- 


5 


-& 


--^- 


-<&- 


1* — ^-^ 


Expansion. 


te 


Inversion. 


S 


Wm 


i 


fcr 


^ 


1 


-f5>- 


Augmentation. 


Diminution. 


^ 


fez 


"sr- 


^ 


-(5'- 


-i5»- 


^^^^ 


The  harmonic-outline  through  which  a  theme  and  its  develop- 
ment passes  should  be  conceived  complete :  the  voice-leadings,  if  in- 
teresting, being,  in  themselves  melodies  :  — 


46 


THE   BHETORIC   OF  MUSIC 


Outline. 


^^ksT^^  'xV-% 


-i5>- 


etc. 


-zr 


-o- 


-&- 


-zr 


-Z7- 


""ZT" 


'a. , 


is: 


Thus  creating  more  possibilities  for  the  production  of  counter- 
themes  :  — 


Theme. 


Contrast. 


Motives. 


^^^^^ 


1^ 


& 


Counter-theme. 


S! 


-^f^ 


Close. 


It 


-^ 


^ 


T»-  -<5^ 


etc. 


9iifc| 


-Q- 


^ 


EEE 


r- 


A  different  rhythm  admits  of  a  further  variety  of  treatment  of 
this  same  theme  and  counter-theme. 

Theme. 


x^r=Y^^ 


m,^&f 


?^^ 


,^j  J-  J- 


etc. 


m 


THE  EHETOEIC   OF  MUSIC 


47 


Rhytliinic  accompaniments  are  often  effective  provided  that  an 
interesting  design,  so  formed,  be  imitated;  the  counter-theme  is 
here  transposed  and  altered :  — 


Counter-theme. 


te^ 


tf^JJJ^^'i/J^ 


PSEg 


ilt 


Khythmic-Design. 


Imitation. 


etc. 


?3E 


^(-Jf  J  H 


9i^^ 


=3l 


t 


4  y 


Or,  by  inversion  of  the  themes  the  contrapuntal  harmonization 
may  be  preserved :  — 


Counter-theme. 


Counter-theme. 


n 


Phrases  formed  by  repetition  of  short  motives  should  represent 
a  wide  range  in  order  to  be  effective  :  — 


,d2: 


P 


¥ 


^^ 


Motive. 


Ti — ^ 


4, 


>  = 


48 


THE  RHETORIC    OF  MUSIC 


etc. 


-tW- 


m 


i 


r 


Short  phrases  resulting  from  a  continuous  progression  of  triads 
are  more  to  be  desired  than  those  longer  ones  built  rhythmically 
upon  a  single  harmonic  foundation :  these  latter  will  prove  inter- 
esting only  when  the  designs  in  themselves  are  productive  of  a  con- 
tinuously climacteric  effect :  — 


Repetitions,  of  designs,  in  the  same  voice  become  interesting  if 
the  underlying  voices  are  harmonically  melodic  :  — 


1 


ipp^ 


■r"ftr~i 


T  f  ?  r 


Pi^ 


-#tf 


etc. 


k^ 


-'-«?— 


-^!-r- 


THE   RHETORIC    OF  MUSIC 


49 


Musical  Form.     The  Sonata. 

In  this  form  are  written  the  sonata,  duo,  trio,  quartet,  quintet, 
etc.,  concerto,  and  symphony.  The  sonata  embodies  the  foui-  prin- 
cipal forms  : —  sonata  (first  movement),  song,  dance  and  rondo.  These 
separate  forms  often  receive  augmentations  by  way  of  introduction, 
sub-theme,  episode,  transition,  coda,  etc. 

The  Sonata  Form.     In  Major. 

[  First-theme  —  In  the  tonic.(i) 
-|  Second    '•    —  "     "    dominant.(J) 
(  Closing    "    —  "      "  <' 

(  Repeat.) 
Various   melodic,  harmonic,    canonical,  and   fu- 
gal   treatment   of   the   themes,    closing   in   the 
dominant. 

!  First-theme  —  In  the  tonic. 
Second    " 
Closing    " 

In  Minor. 


Exposition 


Development 


a 

a 


or 


First-theme 
Second    " 
Closing   " 

Development 

First-theme  - 
Second    '< 
Closing   " 

''  First-theme  - 
Second  "  - 
Closing    "    - 

Development 

First- theme  - 
Second    " 
Closing    " 


In  the  tonic. 
"     "    relative-major. 


u 


u 


( Repeat.) 


-  In  the  tonic. 

_    a       a  u 

In  the  tonic. 
'*    '•'    dominant. 


( Repeat.) 


In  the  tonic. 
"     "  tonic-major. 


ii 


le 


(or  minor.) 

The  Song  Form. 

This  form  is  suitable  for  the  prelude,  nocturne,  romanza,  interlude, 
ballade,  intermezzo,  improvization,  postlude,  lyric,  idyll,  madrigal,  etc.. 


etc. 


The  Two-Period  Song  Form. 
First  Period  —       First-Subject  —  In  the  tonic, 

e       J  o    •  J         (  Second 
Second  Period  —    -j  x'-    ^ 


u 
a 


dominant, 
tonic. 


1  This  particular  barmony  predominating  as  the  key-tone. 


60 


THE  BRETOEIC  OF  MUSIC 


In  the  two-period  song  form  the  second-subject  is  but  one-half  the 
length  of  the  first-subject :  in  the  three-period  form  the  second-sub- 
ject is  of  equal  length  with  the  first-subject. 

The  Thre&Period  Song  Form. 

First-period    —  First-subject  —  In  the  tonic. 

Second-period  —  Second     "     —  '•'     "    dominant. 

Third-period  —  Third       "      —  "     "    tonic. 
The  real-song  seldom  makes  use  of  this,  its  original  form ;  but 
under  the  influence  of  the  aria,  recitative,  art-song,  song-cycle,  etc.,  as- 
sumes a  character  more  fantasaical  or  rhapsodaical. 

The  Dance-Form. 

The  minuet,  mazurka,  polonaize,  waltz,  gavotte,  march,  etc.,  use 
this  form.     The  rhythms  are  necessarily  different. 

The  Form. 


First- 
Second- 
First- 
-<  Trio  ( third  )- 
Fi^st- 
Second- 
First- 


subject  —  In  the  tonic. 

dominant. 


a 
u 


a 

u 
u 
It 
u 
a 


"  tonic. 

"  subdominant. 

"  tonic. 

"  dominant. 

"  tonic. 


Occasionally  the  recapitulation  omits  the  usual  last  return  to  the 
second,  and  first-subject  adding  a  coda  immediately  after  the  re- 
turn to  the  first-subject,  which  follows  the  trio. 

The  Dance  Rhythms, 


Minuet. 


3 


;i  J  J  Ji  J  J  Ji 


Mazurka. 


4   J     J 


I     I 


^  U 


Polonaize. 

II  J  J   J  7  J 


J    J 


J  J  =« 


J  J  J  J  J  s 


THE  RHETORIC   OF  MUSIC 


51 


Waltz. 


4   J     J     J    J     J     J'  ' 


4       4       4 


J    J 


Gavotte. 

J  1  J  1 


March. 


4l     4      4      4      4 


I        I        I        I 
4       4       4       4 


These  rhythms  are  often  varied :  they,  as  given,  are  typical  of 
the  necessary  accents  for  the  specific  dance  so  called. 

The  Rondo  Form 

The  rondo  in  its  original  form  signifies  a  continual  return  to  the 
first-subject.  But  few  subjects  are  sufficiently  interesting  to  bear 
such  a  frequent  repetition ;  though  with  suitable  contrasting  sub- 
jects the  form  is  useful.     It  resembles  closely  the  dance-form. 


First     -         sul 

bject 

In 

the 

i  tonic. 

Second- 

u 

(< 

u 

dominant. 

First- 

u 

u 

u 

tonic. 

Trio  (  Third- 

u 

) 

it, 

a 

sub-dominant, 

or 

relative- 

minor 

First  -  subject 

in 

the  tonic 

, 

Second-      " 

u 

u 

(I 

Coda 

a 

u 

(I 

A  more  dignified  rondo-form  which  resembles  the  sonata  (first 
movement )  differing  from  it  only  in  that  it  contains  a  third-theme 
in  place  of  the  development :  — 


'First  -  theme 

—  In  the 

tonic. 

Second-      " 

((    if 

dominant. 

Closing-      " 

((    (< 

dominant. 
(  Repeat.) 

Third  -  theme 

a      ii 

sub-dominant 

First-         " 

a      a 

tonic. 

Second-     " 

a     a 

a 

^Closing-     " 

a      <i 

a 

r\r\    AR!OC"l  r.' 


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